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Greenfield Center, Greenfield Review, (1974). Her first book, a collection of poems published by Native American author and publisher Joseph Bruchac's press. This copy belonged to fellow Native American poet and novelist James Welch and bears his stamp, "WELCH," on the title page. A nice association copy. Very near fine in stapled wrappers.   [#026353] $1,750

Greenfield Center, Greenfield Review, (1974). Her first book, a collection of poems published by Native American author and publisher Joseph Bruchac's press. Silko's first exposure to wide readership came in The Man to Send Rain Clouds, an anthology of fiction edited by poet Kenneth Rosen in 1974. She had several stories in the collection, one of which was selected for Martha Foley's Bicentennial anthology, 200 Years of American Short Stories, a remarkable honor for a writer who had not even had a book of fiction published at that point. Silko's early work combines elements of traditional Native American storytelling techniques with the Western form of the novel or short story. As an individual of mixed descent -- part Laguna Pueblo, part Mexican, part white -- Silko wrote from a perspective that acknowledged and used elements of each culture, while she herself was apart from all of them -- an outsider, and as such, her perception was remarkably individuated, free from the cliches of standard Indian stories. It was in this way -- in her ability to create characters who were alienated from both mainstream society and their own cultures -- that she not only created compelling stories and characters but came to be regarded as a voice for the disenfranchised. Now her writings appear widely in anthologies and as introductions, although now they are more overtly "political," and more explicitly identified as "Indian." For a writer whose total literary output over more than 30 years is relatively small, Silko has had enormous influence -- on publishing, on college campuses in Native American literature and multiculturalism courses, and in helping to define the parameters of a Native American literature that avails itself of Western forms and the written word at the same time that it draws upon tribal oral traditions of storytelling and other ceremonial purposes. Near fine in stapled wrappers. With a 1976 Greenfield Review Press catalog listing the title as "temporarily out of print."   [#025743] $1,500

Greenfield Center, Greenfield Review, (1974). Her first book, a collection of poems published by Native American author and publisher Joseph Bruchac's press. Silko's first exposure to wide readership came in The Man to Send Rain Clouds, an anthology of fiction edited by poet Kenneth Rosen in 1974. She had several stories in the collection, one of which was selected for Martha Foley's Bicentennial anthology, 200 Years of American Short Stories, a remarkable honor for a writer who had not even had a book of fiction published at that point. Silko's early work combines elements of traditional Native American storytelling techniques with the Western form of the novel or short story. As an individual of mixed descent -- part Laguna Pueblo, part Mexican, part white -- Silko wrote from a perspective that acknowledged and used elements of each culture, while she herself was apart from all of them -- an outsider, and as such, her perception was remarkably individuated, free from the cliches of standard Indian stories. It was in this way -- in her ability to create characters who were alienated from both mainstream society and their own cultures -- that she not only created compelling stories and characters but came to be regarded as a voice for the disenfranchised. Now her writings appear widely in anthologies and as introductions, although now they are more overtly "political," and more explicitly identified as "Indian." For a writer whose total literary output over more than 30 years is relatively small, Silko has had enormous influence -- on publishing, on college campuses in Native American literature and multiculturalism courses, and in helping to define the parameters of a Native American literature that avails itself of Western forms and the written word at the same time that it draws upon tribal oral traditions of storytelling and other ceremonial purposes. Fine in stapled wrappers. Two illustrations by Silko and several by Aaron Yava.   [#025742] $1,500

Tucson, Flood Plain Press, (1994). Her first book, a collection of poems published by Native American author and publisher Joseph Bruchac's press. Silko's first exposure to wide readership came in The Man to Send Rain Clouds, an anthology of fiction edited by poet Kenneth Rosen in 1974. She had several stories in the collection, one of which was selected for Martha Foley's Bicentennial anthology, 200 Years of American Short Stories, a remarkable honor for a writer who had not even had a book of fiction published at that point. Silko's early work combines elements of traditional Native American storytelling techniques with the Western form of the novel or short story. As an individual of mixed descent -- part Laguna Pueblo, part Mexican, part white -- Silko wrote from a perspective that acknowledged and used elements of each culture, while she herself was apart from all of them -- an outsider, and as such, her perception was remarkably individuated, free from the cliches of standard Indian stories. It was in this way -- in her ability to create characters who were alienated from both mainstream society and their own cultures -- that she not only created compelling stories and characters but came to be regarded as a voice for the disenfranchised. Now her writings appear widely in anthologies and as introductions, although now they are more overtly "political," and more explicitly identified as "Indian." For a writer whose total literary output over more than 30 years is relatively small, Silko has had enormous influence -- on publishing, on college campuses in Native American literature and multiculturalism courses, and in helping to define the parameters of a Native American literature that avails itself of Western forms and the written word at the same time that it draws upon tribal oral traditions of storytelling and other ceremonial purposes. This is the uncorrected proof copy of the second edition, handmade by the author and inscribed by Silko "with love," with the dedication hand-written on the copyright page and numbered "Uncorrected Proof Copy #5" in her hand. Fine in saddle-stitched wrappers with cover art affixed. Illustrated by the author, including artwork not in the original edition, and with an afterword to this edition that does not appear in the earlier edition. With hand-addressed mailing envelope.   [#025744] $750

NY, Seaver, (1981). Her third book, a collection of stories, poems, essays and photographs. Silko's stories have the remarkable capacity to feel like a "traditional" tale that could have been passed down through a tribe or family for generations, at the same time that they use the straightforward Western short story form to create a singular, telling moment. This volume includes some of the stories that were first collected in The Man to Send Rain Clouds as well as poetry from her then long out-of-print first book, Laguna Woman, plus other, unpublished poems. This is the uncommon hardcover edition (there was a simultaneous wrappered edition). Fine in a very near fine dust jacket with a couple very tiny tears. Illustrated with photographs by Lee H. Marmon, Silko's father and a highly regarded Laguna photographer.   [#002659] $200

NY, Simon & Schuster, (1991). Her second novel, an ambitious attempt to retell 500 years of history from a Native American perspective, by viewing the damaged lives of a group of contemporary Indian drug dealers and misfits, and the anger and fervor of a group of revolutionaries. The central image of an "almanac of the dead" -- a pre-Columbian book of divination -- provides the historical link that unites her contemporary characters with their more glorious forebears. This copy is inscribed by the author in the month before publication "For _____,/ A wonderful care-/ taker and mid-wife/ to this novel!" and dated October 13, 1991. Small bump to upper corner, otherwise fine in a fine dust jacket.   [#025746] $150

(n.p.), (n.p.), 1991. Four photocopied pages of a submission to Rudolfo Anaya's Blue Mesa Review. Two pages consist of "Tribal Prophecies (after Almanac of the Dead)"; two pages are a note to "Rudy" and Silko's personal recollection of the stories of the U.S. government's land grab from the Laguna Pueblo. Photocopies: typed and holograph. Fine. Interesting material, unavailable elsewhere in this form.   [#025745] $150

(Alamo), (Holmgangers), (1975). A collection of humorous and sad drawings by Yava, a Hopi/Navajo/Tewa artist, introduced by Leslie Silko. Yava is an important Native American artist, and highly collected these days. This is an early publication for him, as it is for Silko, preceding her first novel. Signed by Silko. Near fine in wrappers.   [#025754] $100

NY, Simon & Schuster, (1991). The uncorrected proof copy of her second novel, an ambitious attempt to retell 500 years of history from a Native American perspective, by viewing the damaged lives of a group of contemporary Indian drug dealers and misfits, and the anger and fervor of a group of revolutionaries. The central image of an "almanac of the dead" -- a pre-Columbian book of divination -- provides the historical link that unites her contemporary characters with their more glorious forebears. Small coffee stain front cover; near fine in wrappers.   [#019721] $85

NY, Simon & Schuster, (1991). Her second novel, an ambitious attempt to retell 500 years of history from a Native American perspective, by viewing the damaged lives of a group of contemporary Indian drug dealers and misfits, and the anger and fervor of a group of revolutionaries. The central image of an "almanac of the dead" -- a pre-Columbian book of divination -- provides the historical link that unites her contemporary characters with their more glorious forebears. Inscribed by the author in 1996: "To ____,/ Swim swim in the Ocean of Time!" Fine in a fine dust jacket.   [#025747] $75

(n.p.), (n.p.), (n.d.). A broadside poem by Silko, issued in an edition of 1000 numbered copies signed by the author. Illustrated with a photograph by Lee Marmon and also signed by Marmon. 18" x 24". Rolled; else fine.   [#025751] $75

(n.p.), (n.p.), (n.d.). "A/P" (artist's proof) of a broadside poem by Silko, issued in an edition of 1000 numbered copies. Illustrated with a photograph by Lee Marmon. Signed by Lee Marmon. Rolled; a couple small nicks to one side. Near fine.   [#025752] $75

Las Cruces, New Mexico State University, (1978). Special "New Mexico Anthology Issue" that includes Silko, Joy Harjo, Gene Frumkin, and others. Signed by Silko at her contribution. Fine in wrappers.   [#025755] $75

NY, Simon & Schuster, (1996). Nonfiction, a collection of essays. Signed by the author in the year of publication. Fine in a fine dust jacket.   [#025749] $55

NY, Simon & Schuster , (1996). The uncorrected proof copy of this collection of essays. Fine in wrappers.   [#016017] $50

(NY), Simon & Schuster, (1999). Her third novel. Fine in a fine dust jacket and signed by the author.   [#025750] $45

(NY), Antaeus, (1977). With work by Wendell Berry, Paul Bowles, Italo Calvino, John Ashbery and many others. Fine in wrappers.   [#002671] $25

(NY), (Seaver), (1986). The second edition. Only issued in wrappers.   [#003682] $25

NY, Seaver Books, (1981). The simultaneous issue in wrappers. Light diagonal crease front cover, and hole punched in rear cover over original printed price. Just about very good.   [#003681] $25

(Hadley), (Lopez), (1994). Silko provides the introduction for this catalog of Native American literature, our first, which provides, with its listing, a useful overview of the field. Fine in wrappers.   [#016865] $10